This chapter contains sections titled: Resented Relations Back to Fichte Schopenhauer Hears and Reads Fichte A Fairy Tale A Fairy Tale in a Leaden Age From the Freedom of the Will to the Freedom of Non‐Willing Notes References.

In a new reading of Tacitus's account of the quarrel between Helvidius Priscus and Eprius Marcellus at Hist. 4.6.3–4.10.1, I show that the historian stages a confrontation between panegyrical and Realpolitik rhetoric about the Principate. Helvidius uses the consensus-rhetoric of panegyric to propose that the senate claim the freedom they theoretically possess in the regime of a civilis princeps. Eprius describes the autocratic “reality” of the Principate in terms of contingency, necessity, and power. Helvidius's panegyrical fantasy runs up against (...) practical limits, but Eprius's hardheaded truisms prove equally problematic for senatorial oratory. The failures of both speeches comment on the necessity of a consciously fictive “public transcript” such as Pliny's Panegyric while pointing to historiography as the proper place for Realpolitik truths. The debate sheds new light on Tacitus's praise of Trajan and Nerva at the beginning of the Histories as a locus for collective senatorial self-fashioning. (shrink)

ABSTRACTWhere do a child’s morals come from? Interactions with other human beings provide arguably the primary contexts for moral development: family, friends, teachers and other people. It is the artistic products of human activity that this essay considers: literature, film, art, music. Specifically, I will consider some philosophical issues concerning the influence of folk and fairy tales on moral development. I will discuss issues of representation and reduction: in particular, how far should stories for children elide the complexities inherent (...) to many folk and fairy tales? Drawing on a distinction between a problematic reductionism and an appropriate pedagogical reduction, I suggest that pedagogical issues of representation require us to think about how to represent complexity in ways that are reductive without being reductionist, that can delight and engage without being horrifying or tedious. While there is a place for horror and for boredom, it is primarily a matter of timing... (shrink)

Machine generated contents note: General editor's preface; Editorial notes and references; Introduction; Notes on text and translation; Chronology; Bibliography; Part I. On the Fourfold Root of the Principle of Sufficient Reason: 1. Introduction; 2. Survey of what is most important in previous teachings about the principle of sufficient reason; 3. Inadequacy of previous accounts and sketch of a new one; 4. On the first class of objects for the subject and the form of the principle of sufficient reason governing (...) in it; 5. On the second class of objects for the subject and the form of the principle of sufficient reason governing in it; 6. On the third class of objects for the subject and the form of the principle of sufficient reason governing in it; 7. On the fourth class of objects for the subject and the form of the principle of sufficient reason governing in it; 8. General remarks and results; Variants in different editions; Collation of the two editions; Part II. On Vision and Colours: 9. On vision; 10. On colours; Variants in different editions; Part III. On Will in Nature: 11. Introduction; 12. Physiology and pathology; 13. Comparative anatomy; 14. Plant physiology; 15. Physical astronomy; 16. Linguistics; 17. Animal magnetism and magic; 18. Sinology; Reference to ethics; Conclusion; Variants in different editions; Glossary of names; Index. (shrink)

The dialogue Bruno, which Schelling published in 1802, has always been recognized as one of the minor masterpieces of German Romantic literature. It cannot be ranked with Hölderlin’s Hyperion or with the Heinrich von Ofterdingen of Novalis; but it is one of the relatively few works by a major German philosopher that deserves the serious attention of general readers of European literature. Unlike Kant, Fichte, and Hegel, Schelling could write about the most abstruse philosophical issues in a way (...) that was intelligible and interesting to the cultured general audience of the time. In this respect he is the only German before Schopenhauer and Nietzsche who can be compared with Locke, Berkeley, and Hume — though it is only with the Berkeley of Alciphron and Siris that his thought has any affinities! (shrink)

"This work is a model of what a philosophical text should be."--Reinhard Lauth "Breazeale's translation is fluent, precise, and perhaps most important of all... it is readable.... This is an excellent translation by the ranking Fichte scholar working in English at present, accompanied by a full, useful scholarly apparatus, likely to be of interest to Fichte scholars and all those concerned with the development of German idealism."--Review of Metaphysics "The publishing of this volume in English... provides us with (...) a wealth of new material, not just about Fichte's development, but about the essentially Cartesian project that first gave rise to phenomenology in our own century."--International Philosophical Quarterly. (shrink)

The general attitude towards Arthur Schopenhauer’s metaphysics is rather fiercely critical and at times even tendentious. It seems that the figure of Schopenhauer as an irredeemably flawed, stubborn, and contradictory philosopher serves as a leitmotiv among scholars. Schopenhauer’s identification of the thing-in-itself with the will continues to be a thorny puzzle in the secondary literature, and it presents perhaps the greatest challenge to Schopenhauer scholars. Schopenhauer borrows the term ‘thing-in-itself’ from Immanuel Kant, who uses it to refer to a reality (...) that is distinct from what appears to us, and hence unknowable. Despite the fact that several interpretations have been offered to make sense of Schopenhauer’s identification of the thing-in-itself with the will, there appears to be no consensus about how to interpret this identification as well as his understanding of the term ‘thing-in-itself’. Unlike the other interpretations, the interpretation that I offer here distinguishes between three distinct and mutually incompatible views that Schopenhauer formulates about the thing-in-itself. I argue that it is not only difficult to give a coherent, consistent account of Schopenhauer’s position, but also not worth trying, because such an endeavor comes at the cost of ignoring the textual richness and depth of thought that Schopenhauer’s works offer. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.4 (2004) 113-120 [Access article in PDF] Wonders, Witches, Wolves, and Wisdom Ellen Handler Spitz Honors College Professor of Visual Arts University of Maryland The Annotated Classic Fairy Tales, ed. Maria Tatar, New York: W.W. Norton, 2002, Paperback: 394 pp., $16.95. We persist in hearkening to fairy tales. Along with ancient myths, the parables of scripture, the secular legends and sacred texts (...) of many lands, a stable canon of these magical tales still provides, even in the twenty-first century, an ongoing source of inspiration to artists, composers, choreographers, filmmakers, poets, and, above all, to the writers and illustrators and readers of children's books. They are of abiding interest as well to all of us who, in our various ways, concern ourselves with the aesthetic education of children. Why is this so? One preeminent authority in the field is Maria Tatar, John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, an author who, with wisdom, tenderness, and erudition, has traced and researched these tales. Having devoted two decades to the phenomenon, Tatar's works include The Hard Facts of the Grimms' Fairy Tales, Off with their Heads! Fairy Tales and the Culture of Childhood, and The Classic Fairy Tales: A Norton Critical Edition.1 She has recently come out with a new book, an edited collection of twenty-six tales all illustrated, marginally annotated, and a number of them retranslated for the occasion, the result being The Annotated Classic Fairy Tales, a painstakingly produced, lavishly decorated volume that would grace any library.In addition to commenting, in the volume's elegantly wide margins, on each of the included tales, Tatar has arranged to have this new compilation ornamented with small colored reproductions of both rare and famous images associated with the tales by distinguished illustrators of the nineteenth and early twentieth centuries — artists such as Gustave Doré, Edmund Dulac, Walter Crane, Maxfield Parrish, and Arthur Rackham. While small in size and often not quite as clear as one might ideally wish (I found myself longing for some sorcery that would blow them up to full size so as to be able to feast my eyes on their wealth of detail and imaginative splendor), these images grace the text and greatly enhance its pleasures. Their presence, in fact, is one of the factors that makes this book unique. I know of no other extant work where a comparable effort has been made to join the fairy tales with a multiplicity of their most celebrated illustrations. The effect is astonishing. Readers are either transported directly back into their own early childhoods or newly acquainted with a brilliant visual canon parallel to that of the fairy [End Page 113] tales themselves. I predict it will be a rare reader who, after seeing this book, will not be desirous of learning more about the artists whose works are reproduced here. To further that end and to begin to satisfy the desire she must have known she would create, Tatar has supplied her readers with a section of mini-biographies and bibliographies not only of the authors and collectors of the fairy tales themselves (most notably, Charles Perrault, the brothers Wilhelm and Jacob Grimm, and Hans Christian Andersen) but of the illustrators. For this felicitous marriage — of word and image, of story and picture — her endeavor deserves our gratitude.Rather than take this tasteful treasure trove as a culmination of Tatar's pre-existing work, which, in a certain sense, it is, I prefer to see it as a lure that entices readers to revisit her earlier volumes which, while of recognized scholarly import and interpretive richness, all tackle questions pertinent not only to folklorists and to historians of literature but to all of us who, in the wake of recent history, have come to wonder ever more anxiously what sort of tales we ought to be telling children and ourselves and how and why. This question, incidentally, returns us to Book II of Plato's Republic, where Socrates poses this question directly to... (shrink)

By way of a thought experiment, make the following pessimistic assumptions about the near and far future. Assume that within the next century we will gradually lose the struggle to sustain the environment and that moderately scarce natural resources will become extremely scarce, due both to increased levels of expectations by the privileged and to increased population. Assume that within the next fifty years the world’s population will double but begin to level off. The best scientific assessment of our (...) prospects for saving the environment in a way that will sustain even a quarter of that population over time (say, several centuries) turns out to be that it cannot be done. The damage to the environment by industry and other sources of pollution will have taken us past the threshold of possible recovery on the most optimistic projections of voluntary population control. The decline will be slow, but it is clear to everyone that the course is irreversible. Assume also that we will gradually lose the battle with disease and that it will be clear to everyone that medical research cannot compete with the deteriorating conditions of scarcity and the mutation rates among the viral and bacterial sources of disease. Gradually, what cannot be accomplished through voluntary population control can and will be accomplished through disease, regardless of the best scientific efforts to prevent it. Scientists reliably tell us that the earth will slowly begin to recover at a rate that will sustain the remaining population, and that in the far distant future there will in all likelihood be centuries with patterns of human flourishing and suffering that resemble our past. Finally, it becomes clear that hopes of finding other intelligent life in the universe and other habitable environments are futile. Scientists confirm that the speed of light and the distance between here and other possible sources of life preempt any rational hope in extra-terrestrial solutions. What we can be sure of is that after a number cycles of human flourishing and suffering, there will be a cataclysmic end to the earth and all its history.. (shrink)

If one holds that an engagement with tragedy is to some extent pleasurable, then one ought to recognize two distinct problems of tragedy. First, given the grim subject matter, what is the source of the pleasure in engaging with works of this genre? Second, is there some sort of affective irrationality involved in the experience? In this paper I reconsider Schopenhauer's theory of tragedy and offer a fuller reconstruction of his complex solution to these problems than has hitherto been (...) given by commentators. Next, I draw out Schopenhauer's distinctive contribution to thinking about these problems, in contrast to contemporary, more univocal solutions. Finally, I argue that the strength of Schopenhauer's complex solution lies in its recognition that our serious engagement with tragedy is a cognitively rich oscillation between feelings of humility and pride. (shrink)

In her paper ‘Why Not Common Morality?’, Rosamond Rhodes argues that medical ethics cannot and should not be derived from common morality and that medical ethics should instead be conceptualised as professional ethics and the content left to the medical profession to develop and decide.1 I have considerable sympathy with the first claim and have myself argued along somewhat similar lines.2 I am, however, very sceptical about elements of the second claim and will briefly explain why. The first part (...) of Rhodes’s constructive argument is to show that practising medicine is not only a role, it is something more. Medicine is a profession and as such its members have to internalise and personally endorse a specific ethics. Rhodes is careful to state that more work is needed to complete the justification for this claim, but the arguments she does provide are strangely ahistorical. First, it is not that long ago that what we now conceive of as one profession was actually two very strictly separated professions, that is, university educated physicians and apprenticed surgeons. Can we really be certain that medicine is now one, unified profession1? Second the way butchers, bakers and candlestick makers are traduced is also oddly ahistorical. It is only fairly recently in many countries that anyone can butcher meat, bake bread or make candlesticks and legally sell the product to the public. Historically these trades have in Europe not been mere roles, but …. (shrink)

In Denmark, teaching the famous fairy tales of Hans Christian Andersen poses a challenge in primary education because cultural heritage status and oversimplified readings make it difficult to engage students in authentic readings. A strategy could be to use philosophical dialogues from the tradition of philosophy with children because this is a student-centred approach to teaching where students explore questions and ideas together, and where the teacher assumes the role not as authority, but as facilitator of the dialogue. This (...) kind of dialogic teaching has been encouraged as especially suitable for literary education where teachers aim to engage students in reading the literature with an open mind. However, this article presents a case study that gives reason for caution. It analyses materials for philosophical dialogues on Hans Christian Andersen’s fairy tales and concludes that despite the dialogic ideals, the teaching design caves in to the weight of the cultural and historical impact of Hans Christian Andersen and his work. (shrink)

The so-called genetics revolution rests on a history which at its least can be described as controversial. Modern genetics needs to bear this history in mind. In particular, as with the past, the area of reproductive choice seems particularly vulnerable to potential abuse. Courts in the UK and elsewhere have already shown themselves willing to interfere with the choices of women in the management of their pregnancies. Medical advance, perhaps particularly the capacity to visualise the developing foetus, has added complexity (...) to the question of whether the health care provider has one patient (the woman) or two patients (the woman and the foetus). Additionally, pregnancy is thoroughly monitored in modern medical practice and genetics may provide a further impetus or incentive to mandate increased policing of pregnancy. Gene therapy, once offered, will add further to the desire to ensure that women make the 'right' choice, especially when the invasion required is relatively minimal. Further, genetic information is at best predictive, but may, because of its scientific nature, appear to those receiving it to be certain. Thus, the provision of genetic information may reduce rather than enhance choice, unless carefully and sensitively provided. A mature and sophisticated debate about the role of genetics in reproduction is required-engaging rather than bypassing the public-if the real potential of genetics is to be vindicated. (shrink)

This study advances understanding of how a normative feminine beauty ideal is maintained through cultural products such as fairy tales. Using Brothers Grimm's fairy tales, the authors explore the extent and ways in which “feminine beauty” is highlighted. Next, they compare those tales that have survived with those that have not to determine whether tales that have been popularized place more emphasis on women's beauty. The findings suggest that feminine beauty is a dominant theme and that tales with (...) heavy emphases on feminine beauty are much more likely to have survived. These findings are interpreted in light of changes in women's social status over the past 150 years and the increased importance of establishing forms of normative social control to maintain a gender system. (shrink)

Hans Christian Andersen is a cultural icon, and his fairy tales are famous around the world. But despite the positive ring to this description, his status as a canonized author poses a challenge when he is passed on to new generations of readers. In this article, we show examples of how this challenge reveals itself in Danish primary school teaching where Andersen is an obligatory figure in the subject Danish where he is frequently framed as a national romantic author (...) of morally unambiguous texts. Taking the current use of “The Ugly Duckling” (1844) in primary school teaching materials as a point of departure, we aim to show Andersen’s potential to be presented as an element in primary school teaching that draws on dialogic inquiries rooted in Philosophy with Children. Philosophical inquiries are characterized by an open mindset that incite teachers as well as school children to engage with the rich ethical themes and literary qualities of Andersen’s fairy tales. We conclude the article with our own inquiry manual to “The Ugly Duckling” to illustrate a way to overcome the current hegemonic framing of Andersen and reopen his fairy tale for future discussions and interpretations. (shrink)

One vivid description of folktale research, still applicable although more than a half century old, reads, “Folktale study is like a desert journey, where the only landmarks are the bleached bones of earlier theories.” Because theories have proven to be so ephemeral in comparison with the tales themselves , it might seem prudent to place more stock in the tales and less in the theories or at least to take an eclectic approach toward theorizing so as to hedge bets; but (...) not all scholars of folktales exercise more circumspection now than their predecessors did fifty years ago. For example, in Little Red Riding Hood: A Casebook Alan Dundes — one of the most prominent American folklorists of our day — adduces no material dated from before 1697 that is related to the tale “Little Red Riding Hood” but manages nonetheless to question sharply the very notion of valuing early written evidence. By scrutinizing a short Latin poem written in the first quarter of the eleventh century, I hope to refute Dundes's dismissal of literary evidence and to underscore the pertinence of studying medieval literature in coming to grips with that beautiful and elusive phenomenon to which English-speakers give the name “fairy tale.”. (shrink)

Schopenhauer’s invective is legendary among philosophers, and is unmatched in the historical canon. But these complaints are themselves worthy of careful consideration: they are rooted in Schopenhauer’s philosophy of language, which itself reflects the structure of his metaphysics. This short chapter argues that Schopenhauer’s vitriol rewards philosophical attention; not because it expresses his critical take on Fichte, Hegel, Herbart, Schelling, and Schleiermacher, but because it neatly illustrates his philosophy of language. Schopenhauer’s epithets are not merely spiteful slurs; instead, they (...) reflect deep-seated theoretical and methodological commitments to transparency of exposition. (shrink)

The presence of dual and ambivalent characters (good/ bad) has always constituted the aesthetic and educational content in children’s fairy tales. Since the Nineteenth century, fairy tales and children’s books have had as an essential reference increasingly complex images and illustrations with vivid colors. This, together with the narration, has allowed the flourishing of a genre of fairy tale noir, whose explicitly pedagogical content is grafted into the plots not always “to happy ending” of fairy (...) tales. The book by Heinrich Hoffmann, _Struwwelpeter_, and that by Ernst Theodor Hoffmann, _Der Sandmann_, which are at the heart of this essay, constituted a first, important example of this new kind of narrative. They have revealed, from a pedagogical-psychoanalytic perspective, the value of what Freud in a 1919 paper, _Das Unheimliche_, analyzed as a necessary manifestation of presence/absence (conscious and unconscious) in the phases of human growth. (shrink)

The power of sexual selection to influence the evolution of morphological traits was first proposed more than 130 years ago by Darwin. Though long a controversial idea, it has been documented in recent decades for a host of animal species. Yet few of the established sexually selected features have been explored at the level of their genetic or molecular foundations. In a recent report, Zauner et al.1 describe some of the molecular features associated with one of the best characterized of (...) sexually selected traits, the male‐specific tail “sword” seen in certain species of the fish genus Xiphophorus. Zauner et al. find that the msxC gene, a gene previously implicated in fin development from work in zebrafish, is dramatically and specifically upregulated in the development of the ventral caudal fin rays, which give rise to the sword, in males. The results provide the first molecular insight into the development of this sexually selected trait while prompting new questions about the structure of the entire genetic network that underlies this trait. To fully understand the molecular‐genetic and evolutionary history of this network, however, it will be essential to determine whether sword‐development is a basal or derived trait in Xiphophorus. BioEssays 26:116–119, 2004. © 2004 Wiley Periodicals, Inc. (shrink)

Book description: Art and Morality is a collection of groundbreaking new papers on the theme of aesthetics and ethics, and the link between the two subjects. A group of distinguished contributors tackle the important questions that arise when one thinks about the moral dimensions of art and the aesthetic dimension of moral life. The volume is a significant contribution to philosophical literature, opening up unexplored questions and shedding new light on more traditional debates in aesthetics. The topics explored include: (...) the relation of aesthetic to ethical judgement; the relation of artistic experience to moral consciousness; the moral status of fiction; the concepts of sentimentality and decadence; the moral dimension of critical practice, pictorial art and music; the moral significance of tragedy; and the connections between artistic and moral issues elaborated in the writings of central figures in modern philosophy, such as Kant, Schopenhauer and Nietzsche. The contributors share the view that progress in aesthetics requires detailed study of the practice of criticism. This volume will appeal both to the philosophical community and to researchers in areas such as literary theory, musicology and the theory of art. (shrink)

Sellers explores contemporary women's rewritings of myth and fairy tale, asking why mythical paradigms continue to have such potency despite the distorted images of gender they often present. A series of readings of texts is given in illustration.

Summary Fairy tales are widely used by teachers and parents in helping children to read. The Ladybird Well?Loved Tales series is particularly popular and widely available in schools and supermarkets. The paper argues that the stereotypical images of women put forward in these tales is one element in contributing to females? negative and stereotypical views of themselves and limited definitions of their identities and roles. It also argues that the consolation implicit in such tales need not necessarily be ?bought? (...) at such a price: the second part of the paper outlines images and motifs in alternative fairy tales. (shrink)

Abstract:When major waterfalls in Norway became possible to develop around 1900, a major step was achieved. The step was a major international technological leap paralleled with changes of established attitudes towards grand, and until then, useless nature. Taking the until-then-useless waterfall Rjukanfossen in Telemark into use was a convergence of grand nature, large technological installations, big business and strong emotions. Transforming this waterfall was a large undertaking and was considered to deserve artistic treatment. In 1907–1908 the Norwegian illustrator and painter (...) Theodor Kittelsen produced a series of five watercolors of the waterfall's transformation. They were hung up at the industrial company's representational villa in Notodden. Within traditional landscape painting, water, and especially cascading water, was a standard element. However, Kittelsen's paintings introduced new versions of nature and nature use. This waterfall was totally transformed by being put into service as part of a Norwegian fairy tale. Dragons, elves, and old men in the mountain appear in the waterfall as part of the transformation. The story the paintings tell did not fit well into the context of Norwegian national romanticism, where the Telemark region throughout the 1800s had been associated with “the nation's inner spirit.” The article will trace the production of these paintings, and the subjects depicted in them. It will analyse the nature versions the meeting between the company manager and the artist entailed. How did these paintings use Norwegian fairy tale images to depict a new version of controlled nature? The paintings did not simply thematize mastery over nature or grief over the loss of a waterfall, but a whole range of emotions like ambivalence, insecurity, envy and pride. They both confirmed and challenged the iconic status of major waterfalls in Norway. (shrink)

C. S. Lewis takes us on a profound journey through both heaven and hell in this engaging allegorical tale. Using his extraordinary descriptive powers, Lewis introduces us to supernatural beings who will change the way we think about good and evil.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hegel’s Ethics of Recognition by Robert R. WilliamsLawrence S. StepelevichRobert R. Williams. Hegel’s Ethics of Recognition. Los Angeles: University of California Press, 1998. Pp. xviii +433. Cloth, $60.00.The eminent Hegel scholar, Vittorio Hoesle, perceived the major weakness of Hegel’s philosophy in its seeming failure to adequately deal with the issue of interpersonal relations. Hardly a new objection, as Hoesle’s critique has a lineage that reaches at least as (...) far back as Schleiermacher. Against this thesis, Robert Williams had earlier developed a counter-argument which he presented in his work, Recognition: Fichte and Hegel on the Other (1992). In this foundational work, Williams drew out and clarified Hegel’s concept of recognition from its inchoate source in Fichte; and by so doing defended “Hegel against charges that his thought violates intersubjectivity and difference by reducing the other to the same.”(1) In the present work, the conceptual and textual grounds established by Williams in his first work on the topic allow for a more extensive extrapolation of Hegel’s doctrine, and argues that “The story of recognition is a story about Fichte and Hegel. Fichte introduced the concept but did not make it the basis of either his ethics or his politics. Hegel appropriated and transformed the concept of recognition and regarded it as the fundamental intersubjective structure of ethical life.” (26)After a brief introductory critical survey of some of the more or less misleading contemporary views of both Hegelians and non-Hegelians regarding Hegel’s concept of interpersonal recognition, Williams proceeds to present its historical genesis, of how it emerged from its early and unfocused appearances in the philosophies of Fichte and Schelling. Williams then traces the further development and elaboration of this concept as it gains expression in the course of Hegel’s own ethical theory, not only as it is found in such major works as the Phenomenology of Mind and The Philosophy of Spirit, but also as it appears in his earlier and lesser known Jena Manuscripts of 1805. After this preliminary doctrinal and historical introduction, Williams turns to the most substantial section of his study, that work of Hegel’s in which the concept of recognition would be expected to and does indeed play its most evident ethical role: The Philosophy of Right.Almost every category within The Philosophy of Right is examined not only for the appearance of the concept, but for the defining role which it plays in the construction of that category. Such an examination is necessary for Williams, since “Reciprocal recognition in its various determinate types and instances is the general structure of ethical life and the embodiment of social reason that underlies and supports the concepts of law and state.” (364) Among the categories considered, categories that Williams discusses within the context of contemporary issues and each of which is taken up in a separate chapter of his work, are Family, Crime and Punishment, Poverty, and the State. In every instance considered he argues that an understanding of the defining role of recognition is a necessary prerequisite not only for a clear and correct comprehension [End Page 174] of Hegel’s ethical theory but of all ethical theory. Certainly, after this scholarly tour de force Hegel’s concept of recognition will have to be taken into account in any credible discussion of his ethical theory. In a final chapter Williams turns to some contemporary ethical theorists who have not taken that concept into consideration, or if they have, have either misunderstood or have rejected it. For Williams, such thinkers as Kojeve, Sartre, Deleuze, Derrida and Levinas, in their misunderstanding or rejection of the ethically mediating concept of recognition, have all contributed toward the “disrupted and fragmented cultural situation at the end of the twentieth century.” (412)In sum, Williams’ presentation and support of Hegel’s ethical employment of the concept of intersubjective recognition cannot but encourage theorists to reconsider the subject, and to see in it not only a conceptual tool which can serve to lucidly contextualize Hegel’s ethical theory into the matrix of his total philosophical system, but also as a needed ethical concept able to transcend both... (shrink)

With the publication of The God Delusion Richard Dawkins became enthroned as the unofficial ‘Emperor’ for a cadre of writers advancing a rhetorically robust form of anti-theism dubbed ‘The New Atheism’ by Wired Magazine contributing editor Gary Wolf. Many have cheered Dawkins and his court, seeing in their writings just what they long to see. For, after the fashion of the fairy-tale Emperor's fabled new clothes, the ‘new atheism’ has seen naturalism wrapping itself in a fake finery of (...) counterfeit meaning and purpose. (shrink)

Bible myths, fairy tales, and science fictions all offer narratives that imply and sometimes question boundaries for human behavior. By subscription to certain narratives, individuals can enter and leave social groups; by evolving narratives, groups can adjust the realm of the allowable and the realm of the forbidden; and by selective transgression, individuals can gain power beyond that initially granted by the group. All these functions of narrative contribute to the sociobiological vigor of the individuals and groups that subscribe (...) to them, suggesting that the creation and use of narratives has proadaptive functions. (shrink)

Today it is a rare journal article that does not begin with the words "on the threshold of the third millennium." Someone might say, "What do you, philosophers, have to do with the swift flow of time? You're always talking about the eternal!" But he would not be right. First, although philosophy reflects on the eternal, it exists in time. Like any intellectual community, philosophy has its beginning and history; indeed, a history full of dramatic and even tragic pages, (...) including death at the stake for one's ideas, the irreconcilable confrontation of systems, the blind disregard of some thinkers in their lifetime and the undeserved fame of others, and so on. And what will the future bring? This is a question raised by philosophers "on the threshold of the third millennium," as they ponder the fate and paths of their activity. Second, the central philosophical problem is the problem of Being and man's place in it; hence, the question what the philosophy of the twenty-first century will be like is the question of how we shall represent being itself, man himself, the meaning of human life. Can we today at least name the most general features of the future philosophy? To answer this question I have tried to compare two past philosophical systems—I. Kant's and A. Schopenhauer's. And the reason is this both philosophers are one in their passionate desire to find the Truth for humanity and the individual and, although they begin their reflections from the same positions, they end up with results that are quite incompatible. But both poles of philosophy—the rationalist and the irrationalist—have proved equally valid for humanity. And I think that these two systems determined one of the paths of philosophy in the twentieth century that will continue into the twenty-first. (shrink)

Much has been written by many distinguished persons about the philosophical, religious and ethical considerations of doctors and their involvement with torture. What follows will not have the erudition or authority of the likes of St Augustine, Mahatma Gandi, Schopenhauer or Thomas Paine. It represents the views of a very ordinary person; a presumption defended by the submission that many very ordinary persons have been, and will be, instruments for effecting, assisting or condoning the physical or mental anguish of (...) others. As practitioners of medicine, we are particularly vulnerable, since our particular knowledge and our privileged position may be so easily abused--to the detriment of others. Those of us who practice clinical forensic medicine have even greater responsibility by virtue of our daily contact with the enforcement of law, criminal procedure, and the machinations of the judiciary. We are thus particularly well placed to monitor, encourage or discourage the occurrence of evil practices within the community. It is imperative, therefore, that the ordinary doctor should be cognisant of, and be party to, a code of conduct formulated by his peers and having reference to his obligations as a citizen, and doctor, and to his ability to manipulate human activity. Forensic physicians have further discretionary powers as arbiters in the marriage of the art and ethics of healing with the principles and practice of justice. (shrink)

Starting from the basic premises of Schank's notion of indexing in story telling and the representational approach of language, this paper investigates whether fairy tales create initial indexes for children, that may be re-indexed later in adult life, by reshaping their pre-existing experiences. More specifically, it focuses on the way fairy tales present several concepts already familiar to children, and whether this representation matches children’s pre-existing experiences. The data collected comes from several of Grimm Brothers' fairy tales (...) and consists of a corpus of 62839 word tokens. The fairy tales included were thematically related to general areas of everyday experience: femininity, blackness, whiteness, day, night, being young, ageing. The following semantically contradictory lexical pairs were examined in the expanded concordance, in relation to their collocations and semantic associations: old - young, woman - maiden, day - night, white - black. These were then compared with an adults’ and a children’s dictionary to check whether the collocations, semantic associations of the selected words as portrayed in the data, matched the societally accepted meanings found in dictionaries. The comparison indicated that, although the connotative meanings were included in the majority of denotative meanings that make up words' definitions in the adult dictionary examined, only five of them matched the connotative meanings of the words examined in the data. On the other hand, the way the above concepts/words were presented in the children’s dictionary, was very simple, probably reflecting children’s experiences. It seems, thus, that the concepts - at least some of them - presented in the fairy tales examined, do not “officially” relate to children's but to adults' experiences, functioning as an index that re-shapes children’s pre-existing concepts. (shrink)

This paper suggests that Collingwood's fairy tales writings can be read as a historical study on the origins of European religion. His interest in fairy tales belongs to a clear tradition, whose members include John Ruskin, Benedetto Croce and most importantly Giambattista Vico, that realised the potential of fairy tales as evidence for historical knowledge. In this context fairy tales should be understood as myths that are not symbols but truthful, poetically expressed, narrations of the lives (...) and societies of past people. Furthermore the connection of certain of those myths with religion was also recognised as an important element. Collingwood in his fairy tales study extends and clarifies this line of inquiry. He interprets certain themes of fairy tales as myths, suggesting that the origins of European religion and society can be detected in the totemistic beliefs of the pre-Neolithic people. (shrink)

This long, diffuse, and intermittently quite interesting work is an attempt to explain and justify the process by which the concept of truth has been transformed in modern and contemporary philosophy from a doctrine of adequation via one of the true vision of things to that of the activity of the free subject. The main figures in this process are Descartes, Leibniz, Kant, and Hegel, although considerable space is devoted to Fichte, Schelling, Nietzsche, Husserl, Heidegger, Wittgenstein, and even K. (...) O. Apel and Hans Wagner. Despite the discussion of Wittgenstein and an odd comment or so about Frege, modern philosophy means primarily modern German philosophy; there is, however, some peripheral treatment of contemporary analytical thought. One may perhaps point to three main aspects of the author’s program. The first is his acceptance of the currently fashionable view that semantics is the orientating branch of philosophy. This thesis follows from the author’s acceptance of the historical rejection of Cartesian and Leibnizian intuition in favor of Kantian and Hegelian emphasis upon rationality as categoricity or conceptualism. The second aspect is Simon’s regular attempt to assimilate semantics into the doctrine of reflection. Hence the emphasis upon concepts shifts from that of objects to a second-order reflection upon the nature of conceptual thinking. The third aspect is in many ways the most comprehensive; at least Simon’s book culminates in its articulation. This is the attempt to assimilate the doctrine of reflection into a conception of freedom as a doctrine of both Recht and communication. I found especially valuable the emphasis upon the contribution of the subject to "objective" conceptions of meaning and truth. There are very good pages on the modern doctrine of intuition and the changing role assigned to imagination. The regular emphasis placed by Simon on negation as determination, and hence upon negation of negation as a crucial element even within non-dialectical logic, is also valuable. I was less persuaded by the treatment of intersubjectivity as an expression of a hermeneutics of communication within the context of a doctrine of individual rights. This Fichtean revision of Habermas and Apel may be the latest chapter in German academic philosophy of the traditional stream, but it does not follow even on Simon’s quasi-Hegelian principles that the text is sound. The deepest problem facing the author is to prevent the concept of truth from dissolving altogether into subjective reflection upon the limitations of objective definitions of truth. Stated somewhat differently, the author fails to persuade this reader that truth is actually the consensus of the community. Whatever the "positivist" deficiencies of Descartes and Leibniz, they do provide us with a concept of truth that is not easily mistaken for ideology.—S.R. (shrink)

In the last papers published by Alchourrón, he attacked non-monotonic logics, which he considered philosophically unsound for the representation of defeasible reasoning. Instead of a non-monotonic consequence relation, he proposed a formal representation of defeasibility based on an AGM-like revision of implicit assumptions connected to the premises. Given that this is a procedure to generate non-monotonic logics, it is not clear, from a mathematical standpoint, why he was so suspicious of such logics. In the present paper we try to answer (...) this question based on Alchourrón' s convictions about epistemology, particularly the epistemology of law. We also propose another revision operator on theories called refinement, which provides a faithful representation of the sort of epistemic change considered by Alchourrón as intrinsic to defeasibility. En sus últimos escritos publicados, Alchourrón desarrolló un ataque contra las lógicas no-monotónicas, que consideraba filosóficamente inadecuadas a la representación del razonamiento derrotable. En vez de una relación de consecuencia no-monotónica, él propuso una representación formal de la derrotabilidad basada en un modelo de revisión de las asunciones implícitas ligadas a las premisas. Dado que éste es un procedimiento para generar lógicas no-monotónicas, no está claro -en el nivel matemático- por qué él era tan desconfiado de tales lógicas. En el presente texto intentamos contestar a esta pregunta basados en las convicciones de Alchourrón sobre epistemología, particularmente la epistemología jurídica. También proponemos otro operador de revisión aplicado a las teorías, llamado refinamiento, que proporciona una representación fiel de la especie de cambio epistémico considerado por Alchourrón como intrínseco a la derrotabilidad. (shrink)

This is an extract2 from “Une défaite,” an unfinished novel which, according to Simone de Beauvoir, Sartre wrote in 1927. Apparently, Sartre was inspired by Charles Andler 's biography of Nietzsche and the triangular relationship of Nietzsche, Wagner and Cosima Wagner. The latter, Franz Liszt's daughter, was initially married to Hans von Bülow with whom she had two daughters, and then she married Wagner with whom she had two more daughters. Nietzsche admired her greatly. Sartre became fascinated by this ambiguous, (...) complex and conflictual triangle. Sartre also identified with Nietzsche and “the destiny of the solitary man.” The portagonist, Frédéric, who is one year older than Sartre, is also an ironic self-portrait of Sartre, while Cosima is a prototype for Anny in Nausea; both are modelled on Simone Jollivet. Cosima plays both mother and sister to Frédéric. The triangular relationship is often repeated in Sartre's affective existence. The fairy tale is the best written chapter in the novel. (shrink)

In this lucid, concise, internal analysis of the preface and introduction to the Phenomenology of Spirit an attempt is made to provide an immanent interpretation of these important essays. After briefly sketching the derivation of the idea of a history of consciousness from Schelling and Fichte and the central role that Kant’s notion of transcendental apperception plays in Hegel’s phenomenology, Werner Marx places Hegel in the "Logos tradition" and presents detailed accounts of the presentation of phenomenal knowledge, natural consciousness, (...) and the progressive development of the "shapes" of consciousness. It is persuasively argued that the Phenomenology is both a science of experience and a science of spirit because it relates the science of spirit to the experience of consciousness. This relatively brief essay is rich in philosophical detail and is a sympathetic account of Hegel’s project. Of special interest is the illuminating treatment of the role of the phenomenologist in the process of displaying the appearance of truth in a totality of moments or "thought-determinations". While admitting that Hegel presents the process of categorical development in a cryptic manner, Marx clarifies the content of Hegel’s preface and introduction and, at the same time, remains faithful to the complexities of Hegel’s phenomenological method. This essay is an excellent companion piece to Hegel’s original prefatory and introductory statements about the intention, method, structure, and aim of the Phenomenology.—G.J.S. (shrink)

The misconception of communication by means of language is rife in early modern, modern and contemporary philosophy, philosophy of language, theoretical linguistics, neuro‐linguistics and psychology. An investigation into the essence or nature of the imagination is an investigation into the use of the word 'imagination', for essence is expressed by grammar. Someone who insists that he can imagine a stone's being conscious is indulging in mere image‐mongery. Unlike the narrator of a fairy‐tale or fable, his putative imagining has (...) no consequences, save to stir up philosophical clouds of dust. The criteria of understanding lie in behaviour, in explanations and in the use one makes of a word or sentence, not in accompanying mental imagery. One can, for example, draw what one imagines, and this may illuminate the use of a sentence and clarify its sense. But in other cases, e.g. those of imagining another person dreaming, a wholly misleading picture may obtrude itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Discourses of Jewish Identity in Twentieth-Century FranceEllen S. FineDiscourses of Jewish Identity in Twentieth-Century France, edited by Alan Astro; Yale French Studies 265pp. New Haven: Yale University Press, 1994, $17.00.Ever since France became the first European country to grant Jews equal rights as citizens with the enactment of the Declaration of the Rights of Man in 1791, the question of identity has been a central preoccupation of French (...) Jews. Their emancipation brought about assimilation to the universalist principles of the French Republic and led them to detach themselves from their own traditions, generating conflicting emotions about what it meant for a Jew to be French. The topic of French-Jewish identity has been reflected upon by writers ranging from Sartre, Memmi, and Misrahi to Levinas and Finkielkraut, none of whose discourses are included in this volume but whose ideas are discussed in Seth Wolitz’s pertinent article, “Imagining the Jew in France: From 1945 to the Present.”Divided into two main sections, “Literary Texts” and “Cultural Contexts,” this collection contains articles written by authors not familiar to English speaking readers. They are excellently translated, mainly by the editor, Alan Astro. In his introductory essay, Astro notes that his aim is to portray the cultural and ethnic diversity of French Jews of different origins and to show their part in the formation of Jewish identity. The focus is on how French Jews feel about their own identity, and not on how others see them.The first section, “Literary Texts,” represents a variety of genres, generally fiction. Over half of the thirteen texts date from the 1970s to the present, and are mostly personal narratives, anecdotal in nature. The tone often conveys “a certain humor or self-irony,” described by Rachel Ertel in her essay, “A Minority Literature” (in the second section) as identifiable traits of a Jewish work.With no logical sequence to the presentation of the texts, a multiplicity of perspectives is clearly the objective. For example, Bernard Frank, whose ancestors have lived in France since the Revolution, feels “as French as anyone else,” yet recognizes that Jews are different, “because they’ve been made to be different.” Wolf Wieviorka in 1936 exalts his “noble pedigree,” being a naturalized French citizen; he was later murdered by the Nazis.North African Jews who emigrated to Paris in the 1950s and early 1960s, studied sociologically by Michel Abitbol, are portrayed in Gil Ben Aych’s novel, The Chant of Being (Algerian), and in Paula Jacques’s novel, Aunt Carlotta’s Legacy (Egyptian). Jews of Eastern European descent are depicted in the short stories by Cyrille Fleischman, one of which recounts how a Sorbonne professor of sixteenth-century French literature renounces his eminent career and like his father, opens up a delicatessen in the Jewish quarter of the Marais, thus returning to his roots. Henri Raczymow returns imaginatively to a pre-war Poland in Tales of Exile and Forgetfulness, recreating in French the intonations of Yiddish, the language of his grandparents who died in the Holocaust. In an [End Page 378] outstanding essay, “Memory Shot Through With Holes,” Raczymow articulates urgent questions posed by the second generation: “By what right could I speak, I who was not a victim, survivor or witness?”If the first section is multicultural, the second, “Cultural Contexts,” is interdisciplinary. Annette Wieviorka (granddaughter of Wolf Wieviorka) studies accounts by survivors, revealing the impact of Vichy’s imposing a Jewish identity on its citizens. Wieviorka also evokes the importance of the Six-Day War which compelled assimilated French Jews to proclaim their Jewish allegiance, a pivotal event transforming their sense of identity.Other significant contributions are Gérard Haddad’s exploration of the importance of Judaism in the life and work of Jacques Lacan, an outsider who seemed more concerned with Jewish identity than his fellow psychoanalysts. Ora Avni analyzes Patrick Modiano’s repudiation of his Jewish patrimony in his seminal novel, La Place de l’étoile. Elizabeth de Fontenay comments on how the quant-à-soi (“keeping to oneself”), the reserve characteristic of the French, becomes the quant-à-nous (“ourselves”) for the French Jew who is linked to a community beyond the... (shrink)

Karl Pfeifer revisits Wittgenstein’s parenthetical allusion in the _Tractatus Logico-Philosophicus_ to the Grimms’ fairytale “The Golden Lads”, confirming that it does not work well as an illustration of the notion of “internal identity” that figures in Wittgenstein’s picture theory. He then proposes alternative ways of understanding the relationship of identity apparent in “The Golden Lads”.